34edo: Difference between revisions

: This revision was by author [[User:Kosmorsky|Kosmorsky]] and made on <tt>2013-11-18 10:59:38 UTC</tt>.<br>

: The original revision id was <tt>470065578</tt>.<br>

*The sharpness of ~13 cents of 11/8 can fit somewhat with the 9/8 and 13/8 which both are about 7 cents sharp. Likewise the 20-cent sharpness or flatness of either approximation to 7/4 isn't impossible. The ability to tolerate these errors may depend on subtle natural changes in mood. [[68edo]], double 34, has both these intervals in more perfect form, the 7 especially so.

The chain of fifths gives you the seven naturals, and their sharps and flats. The sharp or flat of a note is (what is commonly called) a neutral second away - the double-sharp adds up to a minor third away. This has led certain complainers, aiming to notate 17 edo (which is relatively popular), to want an extra character to raise something a small step of which. The 34 tone equal temperament, however, can be constructed from two equally spaced 17-note scales: a symbol indicating an adjustment of 1/34 up or down also serves the purpose of the previous sentence, by using two of it. This systemology of course emphasizes certain aspects of 34-edo which may not be most efficient expressions of some musical purposes: The reader can easily construct his own notation. One concern is that a system with 15 nominals for example, instead of seven, might be waste - of paper, space, brainmemory etc. if they aren't used consecutively and frequently. The system spelled out here has familiarity as an advantage or disadvantage. Tangentially, while the table uses ^ and v for "up" and "down", Kosmorosky prefers using filled in triangles because that's what I decided on years ago, and he's one of a handful of people worldwide who uses the tuning extensively, as far as I know, but whatever, I can't hit you through a computer if you use alternate symbols!

*The sharpness of ~13 cents of 11/8 can fit somewhat with the 9/8 and 13/8 which both are about 7 cents sharp. Likewise the 20-cent sharpness or flatness of either approximation to 7/4 isn't impossible. The ability to tolerate these errors may depend on subtle natural changes in mood. &lt;a class="wiki_link" href="/68edo"&gt;68edo&lt;/a&gt;, double 34, has both these intervals in more perfect form, the 7 especially so.&lt;br /&gt;

  The chain of fifths gives you the seven naturals, and their sharps and flats. The sharp or flat of a note is (what is commonly called) a neutral second away - the double-sharp adds up to a minor third away. This has led certain complainers, aiming to notate 17 edo (which is relatively popular), to want an extra character to raise something a small step of which. The 34 tone equal temperament, however, can be constructed from two equally spaced 17-note scales: a symbol indicating an adjustment of 1/34 up or down also serves the purpose of the previous sentence, by using two of it. This systemology of course emphasizes certain aspects of 34-edo which may not be most efficient expressions of some musical purposes: The reader can easily construct his own notation. One concern is that a system with 15 nominals for example, instead of seven, might be waste - of paper, space, brainmemory etc. if they aren't used consecutively and frequently. The system spelled out here has familiarity as an advantage or disadvantage. Tangentially, while the table uses ^ and v for &amp;quot;up&amp;quot; and &amp;quot;down&amp;quot;, Kosmorosky prefers using filled in triangles because that's what I decided on years ago, and he's one of a handful of people worldwide who uses the tuning extensively, as far as I know, but whatever, I can't hit you through a computer if you use alternate symbols!&lt;br /&gt;